Argylle movie review: just *argh*
A vacuous multitentacled exercise in pop-culture marketing, and a crass, confused, charmless showcase for Matthew Vaughn’s goes-to-11 hyperactive “style” of unconvincing CGI and frenetic fight scenes.
Catherine O’Hara
daily stream: a doggone-good modern classic comedy
2000’s Best in Show is new on Hulu in the US; on Prime and Apple TV in the UK.
movies by or about women opening UK/Ire Oct 23–25
Linda Hamilton, Mackenzie Davis, and Natalia Reyes star in Terminator: Dark Fate; more… [This post is for Patreon patrons only for the first month.]
movies by or about women opening US/Can Oct 11
Pamela Pettler and Erica Rivinoja cowrite The Addams Family; more… [This post is for Patreon patrons only for the first month.]
memo to Christopher Guest: Please take on Sarah Palin. Please
I’ll help you write it, Mr. Guest. Or I’ll just stand aside in gape in awe as you work. Pretty please?
Killers (review)
Kutcher is barely plausible in those TV ads for digital cameras, sneaking up on people to take their pictures. A spy and hired killer? Don’t make me laugh.
Where the Wild Things Are (review)
Will there be a bigger disappointment for me this year than Spike Jonze’s *Where the Wild Things Are*? Gosh, I hope not: I’m not sure my heart could take it.
For Your Consideration movie review: unpretty comedy
Christopher Guest and his merry band of pranksters are back, improvising a loving, teasing romp through a realm we love and love to hate, full of people fascinating and repellent at the same time.
Evil Dead II, Army of Darkness, Young Frankenstein, Little Shop of Horrors, and Beetlejuice (review)
Why do slasher movies make us laugh in the instant after we jump and scream? When comedy works, it’s for the same reason that horror does: It surprises us, and laughter and screams emanate from that same primitive lizard part of our brains, one that reacts before we can think.
Best in Show and Waiting for Guffman movies review: guest star
Christopher Guest’s Best in Show is another hilarious and poignant mockumentary that, in the vein of his Waiting for Guffman, pokes gentle fun at its fictional subjects as well its audience.
